Tommaso Landolfi
Gogol’s Wife
& Other Stories
Translated by Raymond Rosenthal,
John Longrigg, Wayland Young
New Directions eBooks
Contents
Gogol’s Wife
Pastoral
Dialogue on the Greater Harmonies
The Two Old Maids
Wedding Night
The Death of the King of France
Giovanni and His Wife
Sunstroke
A Romantic’s Letter on Gambling
Gogol’s Wife
AT THIS point, confronted with the whole complicated affair of Nikolai Vassilevitch’s wife, I am overcome by hesitation. Have I any right to disclose something which is unknown to the whole world, which my unforgettable friend himself kept hidden from the world (and he had his reasons), and which I am sure will give rise to all sorts of malicious and stupid misunderstandings? Something, moreover, which will very probably offend the sensibilities of all sorts of base, hypocritical people, and possibly of some honest people too, if there are any left? And finally, have I any right to disclose something before which my own spirit recoils, and even tends toward a more or less open disapproval?
But the fact remains that, as a biographer, I have certain firm obligations. Believing as I do that every bit of information about so lofty a genius will turn out to be of value to us and to future generations, I cannot conceal something which in any case has no hope of being judged fairly and wisely until the end of time. Moreover, what right have we to condemn? Is it given to us to know, not only what intimate needs, but even what higher and wider ends may have been served by those very deeds of a lofty genius which perchance may appear to us vile? No indeed, for we understand so little of these privileged natures. “It is true,” a great man once said, “that I also have to pee, but for quite different reasons.”
But without more ado I will come to what I know beyond doubt, and can prove beyond question, about this controversial matter, which will now—I dare to hope—no longer be so. I will not trouble to recapitulate what is already known of it, since I do not think this should be necessary at the present stage of development of Gogol studies.
Let me say it at once: Nikolai Vassilevitch’s wife was not a woman. Nor was she any sort of human being, nor any sort of living creature at all, whether animal or vegetable (although something of the sort has sometimes been hinted). She was quite simply a balloon. Yes, a balloon; and this will explain the perplexity, or even indignation, of certain biographers who were also the personal friends of the Master, and who complained that, although they often went to his house, they never saw her and “never even heard her voice.” From this they deduced all sorts of dark and disgraceful complications—yes, and criminal ones too. No, gentlemen, everything is always simpler than it appears. You did not hear her voice simply because she could not speak, or to be more exact, she could only speak in certain conditions, as we shall see. And it was always, except once, in tête-à-tête with Nikolai Vassilevitch. So let us not waste time with any cheap or empty refutations but come at once to as exact and complete a description as possible of the being or object in question.
Gogol’s so-called wife was an ordinary dummy made of thick rubber, naked at all seasons, buff in tint, or as is more commonly said, flesh-colored. But since women’s skins are not all of the same color, I should specify that hers was a light-colored, polished skin, like that of certain brunettes. It, or she, was, it is hardly necessary to add, of feminine sex. Perhaps I should say at once that she was capable of very wide alterations of her attributes without, of course, being able to alter her sex itself. She could sometimes appear to be thin, with hardly any breasts and with narrow hips more like a young lad than a woman, and at other times to be excessively well-endowed or—let us not mince matters—fat. And she often changed the color of her hair, both on her head and elsewhere on her body, though not necessarily at the same time. She could also seem to change in all sorts of other tiny particulars, such as the position of moles, the vitality of the mucous membranes and so forth. She could even to a certain extent change the very color of her skin. One is faced with the necessity of asking oneself who she really was, or whether it would be proper to speak of a single “person”—and in fact we shall see that it would be imprudent to press this point.
The cause of these changes, as my readers will already have understood, was nothing else but the will of Nikolai Vassilevitch himself. He would inflate her to a greater or lesser degree, would change her wig and her other tufts of hair, would grease her with ointments and touch her up in various ways so as to obtain more or less the type of woman which suited him at that moment. Following the natural inclinations of his fancy, he even amused himself sometimes by producing grotesque or monstrous forms; as will be readily understood, she became deformed when inflated beyond a certain point or if she remained below a certain pressure.
But Gogol soon tired of these experiments, which he held to be “after all, not very respectful” to his wife, whom he loved in his own way—however inscrutable it may remain to us. He loved her, but which of these incarnations, we may ask ourselves, did he love? Alas, I have already indicated that the end of the present account will furnish some sort of an answer. And how can I have stated above that it was Nikolai Vassilevitch’s will which ruled that woman? In a certain sense, yes, it is true; but it is equally certain that she soon became no longer his slave but his tyrant. And here yawns the abyss, or if you prefer it, the Jaws of Tartarus. But let us not anticipate.
I have said that Gogol obtained with his manipulations more or less the type of woman which he needed from time to time. I should add that when, in rare cases, the form he obtained perfectly incarnated his desire, Nikolai Vassilevitch fell in love with it “exclusively,” as he said in his own words, and that this was enough to render “her” stable for a certain time—until he fell out of love with “her.” I counted no more than three or four of these violent passions—or, as I suppose they would be called today, infatuations—in the life (dare I say in the conjugal life?) of the great writer. It will be convenient to add here that a few years after what one may call his marriage, Gogol had even given a name to his wife. It was Caracas, which is, unless I am mistaken, the capital of Venezuela. I have never been able to discover the reason for this choice: great minds are so capricious!
Speaking only of her normal appearance, Caracas was what is called a fine woman—well built and proportioned in every part. She had every smallest attribute of her sex properly disposed in the proper location. Particularly worthy of attention were her genital organs (if the adjective is permissible in such a context). They were formed by means of ingenious folds in the rubber. Nothing was forgotten, and their operation was rendered easy by various devices, as well as by the internal pressure of the air.
Caracas also had a skeleton, even though a rudimentary one. Perhaps it was made of whalebone. Special care had been devoted to the construction of the thoracic cage, of the pelvic basin and of the cranium. The first two systems were more or less visible in accordance with the thickness of the fatty layer, if I may so describe it, which covered them. It is a great pity that Gogol never let me know the name of the creator of such a fine piece of work. There was an obstinacy in his refusal which was never quite clear to me.
Nikolai Vassilevitch blew his wife up through the anal sphincter with a pump of his own invention, rather like those which you hold down with your two feet and which are used today in all sorts of mechanical workshops. Situated in the anus was a little one-way valve, or whatever the correct technical description would be, like the mitral valve of the heart, which, once the body was inflated, allowed more air to come in but none to go out. To deflate,
one unscrewed a stopper in the mouth, at the back of the throat.
And that, I think, exhausts the description of the most noteworthy peculiarities of this being. Unless perhaps I should mention the splendid rows of white teeth which adorned her mouth and the dark eyes which, in spite of their immobility, perfectly simulated life. Did I say simulate? Good heavens, simulate is not the word! Nothing seems to be the word, when one is speaking of Caracas! Even these eyes could undergo a change of color, by means of a special process to which, since it was long and tiresome, Gogol seldom had recourse. Finally, I should speak of her voice, which it was only once given to me to hear. But I cannot do that without going more fully into the relationship between husband and wife, and in this I shall no longer be able to answer to the truth of everything with absolute certitude. On my conscience I could not—so confused, both in itself and in my memory, is that which I now have to tell.
Here, then, as they occur to me, are some of my memories.
The first and, as I said, the last time I ever heard Caracas speak to Nikolai Vassilevitch was one evening when we were absolutely alone. We were in the room where the woman, if I may be allowed the expression, lived. Entrance to this room was strictly forbidden to everybody. It was furnished more or less in the Oriental manner, had no windows and was situated in the most inaccessible part of the house. I did know that she could talk, but Gogol had never explained to me the circumstances under which this happened. There were only the two of us, or three, in there. Nikolai Vassilevitch and I were drinking vodka and discussing Butkov’s novel. I remember that we left this topic, and he was maintaining the necessity for radical reforms in the laws of inheritance. We had almost forgotten her. It was then that, with a husky and submissive voice, like Venus on the nuptial couch, she said point-blank: “I want to go poo poo.”
I jumped, thinking I had misheard, and looked across at her. She was sitting on a pile of cushions against the wall; that evening she was a soft, blonde beauty, rather well-covered. Her expression seemed commingled of shrewdness and slyness, childishness and irresponsibility. As for Gogol, he blushed violently and, leaping on her, stuck two fingers down her throat. She immediately began to shrink and to turn pale; she took on once again that lost and astonished air which was especially hers, and was in the end reduced to no more than a flabby skin on a perfunctory bony armature. Since, for practical reasons which will readily be divined, she had an extraordinarily flexible backbone, she folded up almost in two, and for the rest of the evening she looked up at us from where she had slithered to the floor, in utter abjection.
All Gogol said was: “She only does it for a joke, or to annoy me, because as a matter of fact she does not have such needs.” In the presence of other people, that is to say of me, he generally made a point of treating her with a certain disdain.
We went on drinking and talking, but Nikolai Vassilevitch seemed very much disturbed and absent in spirit. Once he suddenly interrupted what he was saying, seized my hand in his and burst into tears. “What can I do now?” he exclaimed. “You understand, Foma Paskalovitch, that I loved her?”
It is necessary to point out that it was impossible, except by a miracle, ever to repeat any of Caracas’ forms. She was a fresh creation every time, and it would have been wasted effort to seek to find again the exact proportions, the exact pressure, and so forth, of a former Caracas. Therefore the plumpish blonde of that evening was lost to Gogol from that time forth forever; this was in fact the tragic end of one of those few loves of Nikolai Vassilevitch, which I described above. He gave me no explanation; he sadly rejected my proffered comfort, and that evening we parted early. But his heart had been laid bare to me in that outburst. He was no longer so reticent with me, and soon had hardly any secrets left. And this, I may say in parenthesis, caused me very great pride.
It seems that things had gone well for the “couple” at the beginning of their life together. Nikolai Vassilevitch had been content with Caracas and slept regularly with her in the same bed. He continued to observe this custom till the end, saying with a timid smile that no companion could be quieter or less importunate than she. But I soon began to doubt this, especially judging by the state he was sometimes in when he woke up. Then, after several years, their relationship began strangely to deteriorate.
All this, let it be said once and for all, is no more than a schematic attempt at an explanation. About that time the woman actually began to show signs of independence or, as one might say, of autonomy. Nikolai Vassilevitch had the extraordinary impression that she was acquiring a personality of her own, indecipherable perhaps, but still distinct from his, and one which slipped through his fingers. It is certain that some sort of continuity was established between each of her appearances—between all those brunettes, those blondes, those redheads and auburn-headed girls, between those plump, those slim, those dusky or snowy or golden beauties, there was a certain something in common. At the beginning of this chapter I cast some doubt on the propriety of considering Caracas as a unitary personality; nevertheless I myself could not quite, whenever I saw her, free myself of the impression that, however unheard of it may seem, this was fundamentally the same woman. And it may be that this was why Gogol felt he had to give her a name.
An attempt to establish in what precisely subsisted the common attributes of the different forms would be quite another thing. Perhaps it was no more and no less than the creative afflatus of Nikolai Vassilevitch himself. But no, it would have been too singular and strange if he had been so much divided off from himself, so much averse to himself. Because whoever she was, Caracas was a disturbing presence and even—it is better to be quite clear—a hostile one. Yet neither Gogol nor I ever succeeded in formulating a remotely tenable hypothesis as to her true nature; when I say formulate, I mean in terms which would be at once rational and accessible to all. But I cannot pass over an extraordinary event which took place at this time.
Caracas fell ill of a shameful disease—or rather Gogol did—though he was not then having, nor had he ever had, any contact with other women. I will not even try to describe how this happened, or where the filthy complaint came from; all I know is that it happened. And that my great, unhappy friend would say to me: “So, Foma Paskalovitch, you see what lay at the heart of Caracas; it was the spirit of syphilis.”
Sometimes he would even blame himself in a quite absurd manner; he was always prone to self-accusation. This incident was a real catastrophe as far as the already obscure relationship between husband and wife, and the hostile feelings of Nikolai Vassilevitch himself, were concerned. He was compelled to undergo long-drawn-out and painful treatment—the treatment of those days—and the situation was aggravated by the fact that the disease in the woman did not seem to be easily curable. Gogol deluded himself for some time that, by blowing his wife up and down and furnishing her with the most widely divergent aspects, he could obtain a woman immune from the contagion, but he was forced to desist when no results were forthcoming.
I shall be brief, seeking not to tire my readers, and also because what I remember seems to become more and more confused. I shall therefore hasten to the tragic conclusion. As to this last, however, let there be no mistake. I must once again make it clear that I am very sure of my ground. I was an eyewitness. Would that I had not been!
The years went by. Nikolai Vassilevitch’s distaste for his wife became stronger, though his love for her did not show any signs of diminishing. Toward the end, aversion and attachment struggled so fiercely with each other in his heart that he became quite stricken, almost broken up. His restless eyes, which habitually assumed so many different expressions and sometimes spoke so sweetly to the heart of his interlocutor, now almost always shone with a fevered light, as if he were under the effect of a drug. The strangest impulses arose in him, accompanied by the most senseless fears. He spoke to me of Caracas more and more often, accusing her of unthinkable and amazing things. In these regions I could not follow him, since I had but a sketchy acquaintance with hi
s wife, and hardly any intimacy—and above all since my sensibility was so limited compared with his. I shall accordingly restrict myself to reporting some of his accusations, without reference to my personal impressions.
“Believe it or not, Foma Paskalovitch,” he would, for example, often say to me: “Believe it or not, she’s aging!” Then, unspeakably moved, he would, as was his way, take my hands in his. He also accused Caracas of giving herself up to solitary pleasures, which he had expressly forbidden. He even went so far as to charge her with betraying him, but the things he said became so extremely obscure that I must excuse myself from any further account of them.
One thing that appears certain is that toward the end Caracas, whether aged or not, had turned into a bitter creature, querulous, hypocritical and subject to religious excess. I do not exclude the possibility that she may have had an influence on Gogol’s moral position during the last period of his life, a position which is sufficiently well known. The tragic climax came one night quite unexpectedly when Nikolai Vassilevitch and I were celebrating his silver wedding—one of the last evenings we were to spend together. I neither can nor should attempt to set down what it was that led to his decision, at a time when to all appearances he was resigned to tolerating his consort. I know not what new events had taken place that day. I shall confine myself to the facts; my readers must make what they can of them.
That evening Nikolai Vassilevitch was unusually agitated. His distaste for Caracas seemed to have reached an unprecedented intensity. The famous “pyre of vanities”—the burning of his manuscripts—had already taken place; I should not like to say whether or not at the instigation of his wife. His state of mind had been further inflamed by other causes. As to his physical condition, this was ever more pitiful, and strengthened my impression that he took drugs. All the same, he began to talk in a more or less normal way about Belinsky, who was giving him some trouble with his attacks on the Selected Correspondence. Then suddenly, tears rising to his eyes, he interrupted himself and cried out: “No. No. It’s too much, too much. I can’t go on any longer,” as well as other obscure and disconnected phrases which he would not clarify. He seemed to be talking to himself. He wrung his hands, shook his head, got up and sat down again after having taken four or five anxious steps round the room. When Caracas appeared, or rather when we went in to her later in the evening in her Oriental chamber, he controlled himself no longer and began to behave like an old man, if I may so express myself, in his second childhood, quite giving way to his absurd impulses. For instance, he kept nudging me and winking and senselessly repeating: “There she is, Foma Paskalovitch; there she is!” Meanwhile she seemed to look up at us with a disdainful attention. But behind these “mannerisms” one could feel in him a real repugnance, a repugnance which had, I suppose, now reached the limits of the endurable. Indeed . . .
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